Sara Gomez’s de Cierta Manera was the only feature film she was able to produce before her tragic death. While this fact is disheartening, the film works as a solid example of what truly highlighted the mind of a revolutionary who saw the social hypocrisies of a post-revolution Cuba. The issues raised of class, race, and gender all intersected in the narrative surrounding Mario and Yolanda’s growing love. During the discussion after watching the film, I can look back at moments in which the themes of class tensions was the umbrella of all the other issues that followed for characters in the film. Such as one of Yolanda’s students’ mothers being questioned by Yolanda about why she beats her son. To which the mother says it is to keep him in order as he does not stay out of trouble and constantly slacks off in school. The mother only wishes to have her son home with her and her other children to help take care of things around the house despite him not even being in the double digits. This is one example of how the low income neighborhood in which Yolanda teaches in have to deal with hard choices between fostering a child’s education versus basic survival that maybe dependent on a child having to sacrifice their own schooling to take on a role as an extra provider for their family. Yolanda as a character who comes from a more well off background fails to understand this perspective throughout her arc. While it is refreshing to see a woman like Yolanda who can hold her own stance and is educated she still remains ignorant to the realities of which her students and their families live. Mario is that voice of reason, being he comes from the same beginnings as the lower income residents of Cuba he is a product of poor education and traditional thinking that clashes with Yolanda’s progressive lifestyle. Overall, their dynamic suggests from Gomez there is a lot of deconstructing/reframing of how Cuba should proceed with the revolution to truly include everyone.